Fascism in art and the Apocalyptic condition

Think about a situation where answers are desperately needed, everyone wants to have the answers but no one has them. So philosophers get popular who might have the answers, buffoonish talk show hosts semi-convince themselves into believing they have the answers, holier-than-thou television judges sentence the answers from on-high, superheroes who have the power to impose answers become popular.

There’s a word for this – fascism. It’s the same situation Germany was in in the 1920s and 1930s – they had their pride demolished and their bellies emptied. I don’t know if I agree that Ender’s Game is fascist, I won’t use the term neo-fascist because I believe there’s little neo about it – it’s very similar to the situation in Nazi Germany.
Fascism in art can be misconstrued – anyone could produce art *about* fascism without the art being fascist. So the question about Nicolas Winding Refn’s career for example I believe is clear – he’s fascist. He’s on the record as stating that his movie Drive is about heroism, not about fascism. His other movies are less clear. But even Refn is sympathetic, for example the female lead in the movie Drive is clearly terrified into submission by the fascist social reality all around her, and the male lead is terrified into violence by the same social reality – so Refn presents fascism in a very honest and impressive fashion. Drive is the best movie *about* fascism ever made even though it was made by a fascist. Perhaps the accurate thing to say about Refn is that he’s an artist first, and a fascist second, whereas even the more artistic Nazis had the order reversed. This might just be indicative of a more apocalyptic time, where even fascists don’t really believe in fascism because they believe there’s no real future for fascism to exist within.
Another argument for this being neo-fascism is that unlike the 1930s, technological mass distribution now rules the world, so art can help impose a fascist worldview in a much more powerful way than the relatively primitive Nazi propaganda films of that era. One could argue cynically but probably correctly that it was precisely the failure of Nazi propaganda that led to an explosion in mass media distribution, television the most obvious example. Once fascism fails the answer must be to create a more powerful version of it, just like the failure of the Soviet Union led to increased surveillance and control within “free” societies which had “won” the Cold War. This inverts the old Roman process of the loser in a war imitating the victor.
The logical thing with Orson Scott Card is to examine his career – if he’s fascist he’s not likely to write one book expounding his fascism while the rest have nothing to do with it. Refn’s career for example is all about men searching for meaning in life, and imposing meaning with great violence when none is presented to them. I’ve only read a couple of Card’s other books and was offended by them, but I’ve never recognized the precise nature of the offense, and they weren’t about fascism in the clear way that Ender’s Game is. Much like Refn’s Drive though, Ender’s Game is a great work of art, and is very sympathetic towards the main character.
There’s always more going on in the world than meets the eye, and to return to my previous point, one major difference between Nazi Germany and today is the understanding of human apocalypse. Ecological collapse was not widely believed in back then, so the Nazis really did envision a long term history for Arian rule. They had hope in the future of humanity. Fascists of today have no hope, just like the elite have no hope, and regular people have no hope. Noone believes in the future, or at least in a future that contains happy and healthy human beings. Fascists, just like everyone else, don’t see a future in fascism, so what’s the point of them being fascist?
It’s like different architects getting together to debate what kind of building to construct. A fascist building, a democratic building, etc. If a tsunami’s just going to destroy the building anyway, then what does it matter?
Apocalypse creates a crisis of meaning, giving advantage to humans who no longer care about meaning. This is insidious, because apocalypse is not just an ecological status, or an industrial status (nuclear weapons), or a psychosocial-technical status (global surveillance), or a political status, it’s also a personal status. Once one no longer cares about meaning one builds a future with no meaning, and then there’s no reason for the world to continue even if it otherwise would. But it’s increasingly illogical to build a future with meaning when there’s no future to contain the meaning.
In other words, the ecological reality trumps all other issues, certainly issues of fascism vs. democracy. Whether the earth is going to sustain human life in the future overwhelms all other issues.
This itself has deep and very unfortunate implications in it’s monomania. Aren’t women’s rights important? Isn’t racism terrible and very damaging? Since every other issue becomes meaningless in the face of human extinction, there’s no ability to care about these issues, just like a man who has been stabbed no longer cares about his wife, he just cares about getting healed and THEN he can go back to caring about his wife.
Fascism vs. democracy only matters in a world containing humans to actually experience one or the other.
To be fair though, issues like women’s rights, racism, and of course fascism vs. democracy IMPACT whether or not humans survive in the world. I’m a global socialist precisely due to the terrible destructive nature of capitalism and the fact that getting rid of capitalism is one of the best methods of enabling the continuation of human life.
So the fight for democracy is still important even in these dark times. It impacts human survival.

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